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CalledByCthulhu last won the day on August 29

CalledByCthulhu had the most liked content!

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About CalledByCthulhu

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    Small doses
  • Birthday 12/14/1980

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    Los Alamitos, Ca
  • Interests
    Old School Goa Trance, Experimental Psychedelia, rudimentary peni, H.P Lovecraft, Phillip K. Dick, Metal Gear,

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  1. Merkaba is exactly. The name of the album has slipped my mind but the low frequency manipulation is unique amongst everything in the genre. Good call
  2. I cant believe I almost forgot to include this... this is the song used to open every live show they did...
  3. I've been listening to my father's old vinyl records that he left me after his passing and I've been getting into a progressive rock band that goes by the name of its 3 band members Keith Emerson, Greg Lake, and Carl Palmer (Emerson Lake & Palmer) also known as ELP... The Keyboardist (Keith Emerson) is unbelievable on the synthesizers. His use of the modular moog is second to none and is every bit as psychedelic as modern psytrance. Check out the song called "Tarkus".. the intro to that piece is ominous, foreboding, and beautiful... Its definitely not for everyone and it might not be of interest to anyone on this site but its definitely worth checking out.
  4. It's difficult to argue against this
  5. Infected mushroom or anything by posford.. Other notable producers are Hux flux Sandman Mark Petrick (xenomorph)
  6. Even though mixing in key will all but guarantee your transition will sound musical without any clashing of notes, its still entirely possible to create great sounding mash ups while not following the key compatibility chart but youd have to have prior knowledge of how the two tracks sound together to avoid a train wreck mix.. which would make it a crap shoot to perform a "freestyle" session where you basically are picking tracks at random and only going off the bpm compatibility because youre bound to have two tracks that have no business being played together find their way to your decks. But you really should be making it a priority to mix in key whenever possible because its the correct way to mix and will make you look like a professional. As far as the intro track.... Since its a live event and not a set that was designed to be recorded for home listening, i would advise against using an ambient or down tempo intro because people are there to dance. But if youre clever or creative enough to pull off a short intro thats a maximum of 30-45 seconds and is comprised of either spoken word, sound effects, or anything that will sucessfully grab peoples attention, draw them in, excite them, and then build up into a climatic drop of the downbeat of your first track.... You just might make a few fans or 100 that night.
  7. Highly recommended for those of you who enjoy listening to goa and psy on vinyl records and want the absolute best in fidelity. I use a DBX 3BX series ii which is a 3 band expander that processes dynamic range expansion independently across three seperate frequency bands. Dynamic range expansion attenuates the volume of quiet sounds below a given threshold and makes them sound quieter while boosting loud passages to sound louder. The expansion of the difference in volume of the signal is key to making it sound like live music and not a compressed mp3 played on a clock radio. I have to mention the reduced surface noise and wider stereo image being some of the benefits of adding one in your system. Combined with a graphic equalizer and subharmonic synthesizer which processes the lowest frequency and the notes played in the incoming signal and synthesises the the same notes but in a frequency 50% lower and re introduces them back into the signal. This gives a low end that you feel more than hear.. DBX gear is highly recommended
  8. Bringing this thread back from the dead. I'd like to share something I created way back in the winter of 2011. An obscure and abstract mixed set of electronic music and noise with heavy sampling from the works of H.P Lovecraft.. It's more on the experimental side and unfortunately for me, the audience will never know or understand just how much work was involved in making this set. It wasnt your normal run of the mill "play track 1 mix in track 2, wash rinse and repeat." There was a theme to follow and in order to stay true to the source material I needed to use samples and create samples by sampling samples and using those samples to sample the samples. A perfect example (hey that sorta rhymed) is the intro. That was created by recording each individual voice sample and then mixing back and forth between all the different voices to create an entirely new voice sample. The whole purpose of the cacophony of voice sampling was a nod to lovecraft's reoccurring themes of ones own sanity and the effects of losing your sanity... Using my creations as well as samples from official H.P Lovecraft audio books, I was able to put together a naration of sorts that plays throughout the mix in 4 chapters. After everything was finalized and recorded, about 2 months after starting... i had to re-record it to add a loop track that plays in the background from start to finish. It's just a 2 second voice sample of Nick Blinko from Rudimentary Peni endlessly repeating "Papus Adrianas." The whole project was just too ambitious and I dont think many people will "get it." Not only that, the amount of work involved was exhausting and it had a direct effect on the second half of the mix where i just wanted to be done with it and admittedly rushed through it. I'm quite satisfied with how the first 30 mins turned out though especially the intro I created and the sample work throughout the opening track. Anyway.. here it is.. Dont be afraid to give negative feedback if and when it's called for.. Thanks
  9. I chose the exact same sandman tracks! Nice. You should definitely check this mix out. It has all three sandman tracks you've listed and a couple koxbox tracks including stratofierce plus hallucinogen's space pussy and hux flux's classic "time slices."
  10. Technology is a double edged sword. Through it, we were graced with the advent of the "DJ." And with it, we will suffer the heart felt anguish as it will lead to the death of the DJ. The now instant accessibility to virtual DJ software and mock DJ controller set ups that eliminate learning curve difficulties and allow just about anyone to call themselves a DJ is responsible for the steady decline of skillful DJs and has given rise to a collective indifference toward the art of transitional mixing and subsequently began the acceptance of the thousands upon thousands of self proclaimed DJs who are nothing more than an over glorified playlist shuffle button.

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